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    Twilight in Italy
    Twilight in Italy
    Twilight in Italy
    Ebook584 pages8 hours

    Twilight in Italy

    By D. H. Lawrence

    3.5/5

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    The author of Sea and Sardinia and Mornings in Mexico shares essays on his travels to Germany, Austria, and Italy.

    D. H. Lawrence first left England in 1912 and almost immediately began recording his reaction to foreign cultures. Many of those writings became a series of travel articles intended to be published in newspapers; two of them are published here for the first time, deemed too anti-German at the time. Other essays were modified and added to even more observations for Lawrence’s first travel book, Twilight in Italy, published in 1916. Shaped by the atmosphere of the War, and its rampant anxieties, these essays are imbued with Lawrence’s intellectual daring and confidence, which raise them above a conventional travel book.
    LanguageEnglish
    PublisherOpen Road Integrated Media
    Release dateFeb 20, 2019
    ISBN9780795351655
    Author

    D. H. Lawrence

    David Herbert Lawrence was born on 11th September 1881 in Eastwood, a small mining village in Nottinghamshire, in the English Midlands. Despite ill health as a child and a comparatively disadvantageous position in society, he became a teacher in 1908, and took up a post in a school in Croydon, south of London. His first novel, The White Peacock, was published in 1911, and from then until his death he wrote feverishly, producing poetry, novels, essays, plays travel books and short stories, while travelling around the world, settling for periods in Italy, New Mexico and Mexico. He married Frieda Weekley in 1914 and died of tuberculosis in 1930.

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    • 5/5
      Herbie, as we were wont to call the Love and Lover-man, lived on Lago di Garda,where I babysat my two year old grandson at Riva del Garda while his Mom was off working for a London law firm most of the week. With classic errors in the Italian I had read for 34 years, I reassured him, “Non preoccuparti, tua Momma sta andando,” Don’t worry, your Mom is going away. Herbie was further south, past the lemon groves; in his day prior to WWI, my Riva was on the Austrian border, and there was smuggling across the mountains. Lawrence was down in Gargnano with its two nearby monasteries, San Tommaso up on a hill above the town, the “Church of the Eagle,” and San Francesco right on the shore. Looking for the path up to the “plateau of heaven,” “I was quite baffled by the tortuous, tiny, deep passages of the village”(26). These passages led to old steps, used for centuries as occasional urinals. I first found these narrow paths in fortified hilltowns around Carrara like Nicola and Fontia. Wonderful to walk, with the cart-wide steps with a rounded lip for mule-drawn carts. At Nicola I saw pieces of chicken thrown out of second-story windows down to the pavement for cats and maybe ravens. Lawrence goes to the Theater at Salò on Garda. He sees D’Annunzio, Ibsen’s Spettri, which he considers depressingly phallic in the Scandinavian way, crossed with Italian phallicism (one thinks of the engraved phalluses at Pompei doorways), Good Luck. One night his padrone, the Di Paoli, invite him to Amleto, uno drama inglese.The evening honors the Actor-Director Enrico, sturdy short lead, on whom DHL is merciless, DHL arrives late, near the end of Act I: “Enrico looked a sad fool in his melancholy black. The doublet…made him look stout and vulgar, the knee-breeches seemed to exaggerate the commonness of his thick, rather short, strutting legs”(73). We may forget that for all his confrontation of bourgeois British manners, Herbiewas thoroughly British in his valuing of dress and appearance—the aristocratic leg, the tallish figure. He accuses the whole cast, essentially, of not being English. The King and Queen were “touching. The Queen, burly little peasant woman…The King, her noble consort…had new clothes. His body was real enough, but it had nothing to do with his clothes. They established a separate identity by themselves”(74). But Lawrence is also very critical of Hamlet the character: “His nasty poking into his mother…his conceited perversion with Ophelia, make him always intolerable…repulsive, based on self-dislike.” Enrico played him as “the modern Italian, suspicious, isolated, self-nauseated, laboring in a sense of physical corruption.” A later Italian historian, Fabio Cusin, would agree on the suspicion and isolation and self-disgust, in his Antistoria d’Italia (1970). DHL’s says To be, or not… “does not mean to live or not to live…[but the] supreme I, the King and Father. To be or not to be King, Father, in the Self supreme? And the decision is, not to be”(77). He runs on about the deepest impulse in man, the religious impulse, or the desire to be immortal. He argues for the ancients, the supreme I, the Ego ruled, but for Christians, supremacy involves renunciation, surrender to the Not-Self. The pagan Ego became the greatest sin: Pride, the way to total damnation. A US citizen in 2018 cannot help but wonder how the “Christian Right (wing)” came to forget the worst Christian sin of Pride, the foolish pride of the US Trumpster president.
    • 4/5
      I liked this Twilight in Italy, yes, but rated it four stars as if I really liked it. The reason being it was so well-written. The subject not so interesting to me in total, but it felt as if I were in a dream of sorts. Sea and Sardinia is beginning more down to earth for me and I am interested in seeing how he brings the Queen Bee into the more personal and intimate equation.

    Book preview

    Twilight in Italy - D. H. Lawrence

    Twilight in Italy

    And Other Essays

    D. H. Lawrence

    Sketches of Etruscan Places

    Cambridge Edition of the text copyright © 1994, the Estate of Frieda Lawrence Ravagli Introduction and notes copyright © 1994, Cambridge University Press

    All rights reserved. No part of this book may be used or reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review.

    Cover design by Alexia Garaventa

    Electronic edition published 2018 by RosettaBooks

    ISBN (Kindle): 978-0-7953-5165-5

    www.RosettaBooks.com

    THE

    CAMBRIDGE EDITION OF

    THE LETTERS AND WORKS OF

    D. H. LAWRENCE

    THE WORKS OF D. H. LAWRENCE

    GENERAL EDITORS

    James T. Boulton

    † Warren Roberts

    CONTENTS

    General editors' preface

    Acknowledgements

    Chronology

    Cue-titles

    Introduction

    The travel essays of Germany and the Tyrol, 1912

    The Italian essays of 1913

    The 'Chapel' and 'Hay-Hut' sketches in 1914 and 'With the Guns'

    Preparation and publication of Twilight in Italy, 1915–16

    Lawrence's revision of Twilight in Italy and his evolving philosophy, 1915–16

    Posthumous publication of the 'Chapel' and 'Hay-Hut' sketches and 'Christs in the Tirol'

    Reception

    Editing rationale: base-texts and apparatus

    TWILIGHT IN ITALY AND OTHER ESSAYS

    ESSAYS OF GERMANY AND THE TYROL, 1912

    In Fortified Germany

    I.     The English and the Germans

    II.   How a Spy is Arrested

    III.   French Sons of Germany

    Hail in the Rhine-Land

    A Chapel Among the Mountains

    A Hay-Hut Among the Mountains

    Christs in the Tyrol

    ITALIAN ESSAYS, 1913 AND 'WITH THE GUNS', 1914

    By the Lago di Garda

    I.     The Spinner and the Monks

    II.   The Lemon Gardens of the Signor di P.

    III.    The Theatre

    With the Guns

    Twilight in Italy [Italian Days]

    The Crucifix Across the Mountains

    On the Lago di Garda

    I.     The Spinner and the Monks

    II.   The Lemon Gardens

    III.    The Theatre

    IV.  San Gaudenzio

    V.    The Dance

    VI.  Il Duro

    VII.  John

    Italians in Exile

    The Return Journey

    Appendixes

    I 'Christs in the Tirol' (first version)

    II The travel routes

    III 'The Lemon Gardens' typescript fragment, 1915

    Explanatory notes

    A note on currencies

    GENERAL EDITORS' PREFACE

    D. H. Lawrence is one of the great writers of the twentieth century – yet the texts of his writings, whether published during his lifetime or since, are, for the most part, textually corrupt. The extent of the corruption is remarkable; it can derive from every stage of composition and publication. We know from study of his MSS that Lawrence was a careful writer, though not rigidly consistent in matters of minor convention. We know also that he revised at every possible stage. Yet he rarely if ever compared one stage with the previous one, and overlooked the errors of typists or copyists. He was forced to accept, as most authors are, the often stringent house-styling of his printers, which overrode his punctuation and even his sentence-structure and paragraphing. He sometimes overlooked plausible printing errors. More important, as a professional author living by his pen, he had to accept, with more or less good will, stringent editing by a publisher's reader in his early days, and at all times the results of his publishers' timidity. So the fear of Grundyish disapproval, or actual legal action, led to bowdlerisation or censorship from the very beginning of his career. Threats of libel suits produced other changes. Sometimes a publisher made more changes than he admitted to Lawrence. On a number of occasions in dealing with American and British publishers Lawrence produced texts for both which were not identical. Then there were extraordinary lapses like the occasion when a typist turned over two pages of MS at once, and the result happened to make sense. This whole story can be reconstructed from the introductions to the volumes in this edition; cumulatively they will form a history of Lawrence's writing career.

    The Cambridge edition aims to provide texts which are as close as can now be determined to those he would have wished to see printed. They have been established by a rigorous collation of extant manuscripts and typescripts, proofs and early printed versions; they restore the words, sentences, even whole pages omitted or falsified by editors or compositors; they are freed from printing-house conventions which were imposed on Lawrence's style; and interference on the part of frightened publishers has been eliminated. Far from doing violence to the texts Lawrence would have wished to see published, editorial intervention is essential to recover them. Though we have to accept that some cannot now be recovered in their entirety because early states have not survived, we must be glad that so much evidence remains. Paradoxical as it may seem, the outcome of this recension will be texts which differ, often radically and certainly frequently, from those seen by the author himself.

    Editors have adopted the principle that the most authoritative form of the text is to be followed, even if this leads sometimes to a 'spoken' or a 'manuscript' rather than a 'printed' style. We have not wanted to strip off one house-styling in order to impose another. Editorial discretion has been allowed in order to regularise Lawrence's sometimes wayward spelling and punctuation in accordance with his most frequent practice in a particular text. A detailed record of these and other decisions on textual matters, together with the evidence on which they are based, will be found in the textual apparatus which records variant readings in manuscripts, typescripts and proofs; and printed variants in forms of the text published in Lawrence's lifetime. We do not record posthumous corruptions, except where first publication was posthumous. Significant MS readings may be found in the occasional explanatory note.

    In each volume, the editor's introduction relates the contents to Lawrence's life and to his other writings; it gives the history of composition of the text in some detail, for its intrinsic interest, and because this history is essential to the statement of editorial principles followed. It provides an account of publication and reception which will be found to contain a good deal of hitherto unknown information. Where appropriate, appendixes make available extended draft manuscript readings of significance, or important material, sometimes unpublished, associated with a particular work.

    Though Lawrence is a twentieth-century writer and in many respects remains our contemporary, the idiom of his day is not invariably intelligible now, especially to the many readers who are not native speakers of British English. His use of dialect is another difficulty, and further barriers to full understanding are created by now obscure literary, historical, political or other references and allusions. On these occasions explanatory notes are supplied by the editor; it is assumed that the reader has access to a good general dictionary and that the editor need not gloss words or expressions that may be found in it. Where Lawrence's letters are quoted in editorial matter, the reader should assume that his manuscript is alone the source of eccentricities of phrase or spelling.

    ACKNOWLEDGEMENTS

    Critical editions like this one aim to isolate the most authorial form of the text, and as far as possible to eliminate (from the reading text at least) the contributions or alterations of other people. But the activities of editing and annotation, being both intensive and extensive, don't permit an equivalent singularity: other people are essential.

    So it is that I wish to acknowledge gratefully the contributions of the Editorial Board whose criticisms and suggestions, together with more occasional ones from fellow editors in the Lawrence edition, have served over the last several years as a continual and welcome reminder to me of the collaborative nature of editorial scholarship. The particularly generous parts played by Annabel Cooper, Melissa Partridge, Lindeth Vasey and John Worthen need especial mention.

    Nor would the edition have been prepared as quickly or accurately as it has been without the invaluable assistance provided me by Nan Albinski, Loes Baker, Simonetta de Filippis, Anna Eggert, Walter and Shizue Hamilton, Jennifer McDonnell, Cornelia Rumpf-Worthen, Leonie Rutherford and Penelope Winter.

    Other institutions and individuals have provided me with useful information, and I wish to thank them: Giuseppe Baccolo of the Ateneo di Salò, the Civica Biblioteca Queriniana in Brescia, Susanna Fusato of the Municipio at Gargnano, the Gemeindeämter at Eglisau and Adliswil, Peter Roubik of the Staatsarchiv of Kanton Uri, the Servizi Demografici of the Comune di Desenzano del Garda; the inter-library loan staff at the Australian Defence Force Academy Library and the Library of the University of Kent at Canterbury; Paul Knüsli of Adliswil, Alois Kranebitter of Kematen, Rudolf Moroder of St Ulrich, Alois Trenkwalder of Brenner; Rudolf Klausner, Josef Kröll, Gottfried Moser, Pfarrer Waitz of Ginzling; the late Savina and Riccardo Capelli of Gargnano; Andrea Bonassi, Paolo and Franca Poinelli of Gardola di Tignale; Carl Baron, Helen Baron, Hermann Bauer, Renzo Carlini, L. D. Clark, Bryan Coleborne, Enid Dixon, Isobel Grave, James Grieve, Mark Kinkead-Weekes (who provided information on 'The Overtone' which has led to a new dating of its composition), Hans Kuhn, John Lowe, Dieter Mehl, Trish Middleton, Gino Moliterno, Frederick Owen, Peter Preston, Robin Prior, Bridget Pugh, Keith Sagar, the late Morris Shapira, Peter Shillingsburg, Bruce Steele, Margaret Stoljar, Chris Tiffin, Martha Vogel, Philippa Wicks, Ornella de Zordo.

    I also wish to thank George Lazarus and the following libraries for making available materials for this edition: the Bancroft Library, University of California at Berkeley; the Harry Ransom Humanities Research Center, University of Texas at Austin; Nottinghamshire Archives (source of the facsimile in Appendix III); the University of Nottingham Library; Special Collections, Northwestern University Library; Berg Collection, New York Public Library; State University of New York at Buffalo; and the Beinecke Library, Yale University.

    Finally, I owe thanks to University College at the Australian Defence Force Academy, Canberra, for periods of study leave in 1988 and 1992 and for financial assistance; the Australian Research Grants scheme for two research grants; the University of Kent at Canterbury for a Visiting Scholarship in 1988 and the Humanities Research Centre at the Australian National University for a Visiting Fellowship in 1992.

    CHRONOLOGY

    CUE-TITLES

    A. Manuscript locations

    B. Printed works

    (The place of publication, here and throughout, is London unless otherwise stated.)

    INTRODUCTION

    INTRODUCTION

    Almost as soon as D. H. Lawrence left England for the first time in May 1912 he began to record his reactions to the foreign. His journeying furnished him with material for accounts of German-occupied Metz, a hailstorm and flirtation in a village in the Rhineland and a walking tour through the Tyrol. The following winter spent at Lake Garda in northern Italy was equally productive but his travel writings were more focused. His amplification of these essays in 1915 and the addition of others made up the volume which, after revision in proof in early 1916, was called Twilight in Italy – his first travel book. At first impressionistically, and then with rapidly increasing confidence and intellectual daring, these essays of 1912–16 go well beyond the bounds of the conventional travel sketch – especially the essays of 1915 which were profoundly charged by the disorienting anxieties of the War. The prophetic newspaper article, 'With the Guns', written upon the outbreak of war in early August 1914 and based on an artillery practice Lawrence had witnessed the previous year in Bavaria, signals the change. But all the essays were part of his continuously evolving meditation on culture, English as well as foreign, during that period of intense and remarkable development which saw him finish Sons and Lovers, write or fundamentally revise the stories for The Prussian Officer volume, finish (but declare he must write again) the 'Study of Thomas Hardy' and 'The Crown' (published in part in 1915), bring to completion The Rainbow and turn, two months after finishing the proofs of Twilight, to his first full version of the novel which would become Women in Love.¹ Throughout this period – if most obviously in the travel genre where the presence of the writer in the narrative is a convention – biography and text feed off one another symbiotically. With the relationship between the sexes as its touchstone, Lawrence's ever-deepening cultural diagnosis weaves through the fiction and non-fiction alike, no less through his private letters than his formally public writings.

    This volume establishes a reading text of the German and Italian essays of 1912–16; but it also recognises and seeks to document in Introduction, Explanatory notes and Textual apparatus the contexts out of which they arose. The autobiographical Mr Noon especially, but also the first two volumes of Lawrence's Letters and, to a lesser extent, Women in Love, all draw on his travel in this period and are frequently cited. The essays are presented in the order of their writing and rewriting:

    Hail in the Rhine-Land

    A Chapel Among the Mountains

    A Hay-Hut Among the Mountains

    Christs in the Tyrol (i.e. the second version as published in March 1913; the superseded first version of September 1912 is printed in Appendix I)

    The Crucifix Across the Mountains (a rewriting of 'Christs in the Tyrol', second version)

    On the Lago di Garda

    Italians in Exile

    The Return Journey

    The travel essays of Germany and the Tyrol, 1912

    By 12 January 1912 Johanna ('Hannah') Krenkow (1874–1945), sister-in-law of Lawrence's maternal aunt Ada Krenkow (1868–1944), had invited Lawrence, who was then convalescing from a serious bout of pneumonia, to visit herself and her husband, Karl, in Waldbröl, where they had moved in 1911 – a 'tiny village stuck up in the Rhineland' northeast of Bonn (i. 350, 409).² With medical advice that he should abandon teaching (i. 337) and with some evidence that he would be able to make his way as a professional writer,³ Lawrence decided to make a clean break with his earlier life, withdrawing from his engagement to Louie Burrows on 4 February 1912 (i. 361), resigning from his teaching post on 28 February (i. 369) and devoting himself to the completion of 'Paul Morel' (the novel which would become Sons and Lovers) before setting out for Germany.

    Then in March 1912 Lawrence met Frieda Weekley, the wife of Ernest Weekley, Professor of French at University College, Nottingham where Lawrence had been a student. Daughter of Baron Friedrich von Richthofen (1845–1915), she had been brought up in the formerly French city of Metz where her father was a garrison administrative officer in the occupying Prussian army. By 22 April Lawrence's plans for his German trip included Metz (i. 385): Frieda intended to be there for the celebration of her father's fifty years of army service. They travelled together to Germany on 3 May. In Metz, with Frieda staying with her parents and Lawrence at a hotel, they had to pose as distant friends (i. 392). At that stage, Frieda had probably not decided to leave her husband for Lawrence:⁴ she had had other affairs. But when Lawrence wrote to Weekley revealing the liaison ('I love your wife and she loves me', i. 392), the issue was brought to a head – and doubly so when Frieda had to inform her father of the situation when Lawrence was nearly arrested as a spy: 'Mrs Weekley and I were lying on the grass near some water – talking – and I was moving round an old emerald ring on her finger, when we heard a faint murmur in the rear – a German policeman. There was such a to-do. It needed all the fiery little Baron von Richthofen's influence – and he is rather influential in Metz – to rescue me. They vow I am an English officer'.⁵

    Lawrence soon made his near-arrest (on 7 May – the day before he had to leave Metz 'quick', i. 395) the subject of a newspaper article, 'How a Spy is Arrested'. This was one of four that he had written by 16 May when he sent them to be placed by Walter de la Mare, Heinemann's reader, who had been arranging a proposed volume of Lawrence's poems.⁶ Lawrence included the articles with some poems, explaining: 'I wonder if any of this stuff . . . would be any good to the Westminster, or if anybody else would have it. I don't know the papers a bit . . . would you mind offering the articles to somebody you think probable. I am reduced to my last shilling again . . . so I must work' (i. 405). The other three were 'The English and the Germans' (the title has been editorially supplied), 'French Sons of Germany' and 'Hail in the Rhine-Land'. De la Mare's efforts were successful, and Lawrence received galley proofs of one article by 3 July and another two by 8 July (i. 422, 424); but the fourth, 'How a Spy is Arrested', was rejected by John Alfred Spender (1862–1942), editor of the Westminster Gazette, 'as being too violently anti-German'.⁷ It is published here for the first time – as is 'The English and the Germans' which, though set in type, Spender did not subsequently use.⁸ 'French Sons of Germany' appeared on 3 August in both the Westminster Gazette (a daily, established in 1893 and selling for a penny) and, without change, in its special Saturday (magazine) edition, the Saturday Westminster, of the same date. 'Hail in the Rhine-Land' was published in the same manner on 9 and 10 August respectively. They were republished in Phoenix in 1936 with the series title 'GERMAN IMPRESSIONS' from the Westminster Gazette.⁹

    The exact dates of composition of the four articles are unclear. Lawrence had proceeded further up the Mosel River to Trier on 8 May and stayed till the 11th, before moving on to the Krenkows' at Waldbröl, with Frieda remaining in Metz. His letter to de la Mare indicates that he was in sore need of running expenses, so he must have thought that quickly written pieces for newspapers might serve his purpose. Some years later George Neville, a friend whom Lawrence had visited before leaving England (25–31 March 1912), recorded Lawrence's saying at the time: 'I've had an offer to go abroad and do some descriptive pieces – Austrian Tirol and so on'.¹⁰ There is no evidence to confirm this, but it is quite possible that his friend and literary mentor, Edward Garnett, or someone else (perhaps de la Mare) had put such an idea into Lawrence's head. His trip was to be an extended one and it needed financing (i. 368), and all the more urgently now that he was entreating Frieda to join him in Trier: he would soon have to be supporting her as well (i. 394, 401, 402).

    Although all the sketches set in Metz – 'The English and the Germans', 'How a Spy is Arrested' and 'French Sons of Germany' – create the impression of having been written there and on the days of the events described (5–7 May), some phrasings in letters to Frieda of 8 and 9 May, from Trier, are echoed in 'French Sons' which suggests he had just written it (or would soon do so).¹¹ But also in the letter of 9 May he announced: 'I have written a newspaper article that nobody on earth will print, because it's too plain and straight. However, I don't care' (i. 396). While 'French Sons of Germany' describes the daily tensions of life in an occupied region, it is not trenchant in tone. It is more likely that Lawrence's irritation stemmed from his just having written 'How a Spy is Arrested' (which Spender would indeed decline to print). Essay numbering in manuscript and galley proofs suggests that Lawrence wrote 'French Sons of Germany' soon after: 'IN FORTIFIED GERMANY./I.' (galleys of 'The English and the Germans'); 'In Fortified Germany/ II. How a Spy is Arrested.' (manuscript); and 'French Sons' is 'III.' (but without the series title in galleys; see Textual apparatus). This sequence places the composition of 'The English and the Germans' in Metz – either the late afternoon of 6 May or the morning of 7 May before Lawrence and Frieda's walk to the fortifications (described in 'How a Spy');¹² and it argues the need for this edition to restore 'French Sons of Germany' to the series, 'In Fortified Germany', as number 'III.'¹³

    In a letter to Garnett a fortnight later Frieda confessed: 'it's fearfully exciting when he writes and I watch while it comes'.¹⁴ She was probably referring either to Metz or Trier where she visited Lawrence on 10 May (i. 396) – in which case he was writing 'French Sons of Germany' on that day. Lawrence's next reference to his writing is in a letter to Frieda of 13 May, two days after arriving in Waldbröl: 'Once they [the Krenkows] let me begin, I shall knock off quite a lot of work'.¹⁵ He was wanting to get started on his revision of 'Paul Morel', and by the 16th he would be working 'quite hard' at it (i. 404). But in the early evening of the 15th (i. 404), he experienced the hailstorm described in 'Hail in the Rhine-Land'.¹⁶ He must have written that 2,300-word sketch later the same evening or the following day, enabling him to despatch it with the other three articles to de la Mare on the 16th.

    'The English and the Germans' starts ramblingly but soon finds a focus as Lawrence explores the implications of a contrast (offered by 'a friend' – presumably Frieda¹⁷) between English and German soldiers. The meditation which follows, concerning 'the split that exists in the English nature between the senses and the soul' (8:18–19), is his first extended attempt to take stock of his culture in the series of essays and longer studies that eventually included his 'Foreword to Sons and Lovers', 'With the Guns', 'Study of Thomas Hardy', 'The Crown' and Twilight in Italy. Frieda's ideas cannot have been the only stimulus. During his illness the previous winter Lawrence had stressed to correspondents how changed he felt (i. 360, 361 and n. 2) – a change accelerated by the freedom of discussion and manners he soon experienced at the Cearne with Edward and Constance Garnett, in the early months of 1912 and by his anticipating now the need in letters home to defend his liaison with a married woman (i. 409). Lawrence was having to think beyond the stymied desire for passional fulfilment he had tried to deal with in The Trespasser: there was an urgent personal need to find perspective. His effort in the essay is one of diagnosis. His borrowed contrast between the soldiers of the two nations is left behind as he begins to explore what he senses is an English tendency towards self-sacrifice and the valuing of material security over 'life' – 'this strange, perverted will to destroy ourselves' which the Germans, who are not so 'old' a nation, have not yet developed (9:22, 10:2, 8:7).

    While Lawrence was in Waldbröl his letters to Frieda show him trying to come to grips with the imminent, decisive change in his life; and he pleads for their reunion to be delayed to give him time for this. Frieda evidently answered (by 16 May) giving him details of a brief affair she was having in his absence (i. 404). Tepid though it is, the romantic element in 'Hail in the Rhine-Land' (which tallies with Lawrence's professions to Frieda and Edward Garnett that Hannah Krenkow was 'getting fonder and fonder of me', i. 406) may have been a gesture of tit-for-tat, but kept within the confines of a conventional travel sketch.¹⁸ Spender's publishing of this essay is as understandable as his rejection of the first two 'In Fortified Germany' ones: the over-philosophical first one, 'The English and the Germans', did not answer the expectations of its genre for observation. But a political issue they raised was probably of more significance. In its capacity as 'more or less an accredited organ' of parliamentary Liberalism,¹⁹ the Westminster Gazette was campaigning for understanding of the German point of view, chiding other newspapers for sensationalising trivial incidents of English–German discord and quoting at length from 'articles in the Nord und Sud review, in which Dr. Ludwig Stein has inaugurated an Anglo-German entente campaign'.²⁰ And in the column next to 'French Sons of Germany' there was printed a long review of Thomas Hobbes: der Mann und der Denker by Ferdinand Tönnies. In this atmosphere, reference in 'The English and the Germans' to a possible German attack might have been considered alarmist, and the lampoon on German officiousness in 'How a Spy is Arrested' an irresponsible endorsement of a stereotype.²¹ Lawrence could scarcely have submitted the two essays to a less likely publishing outlet: as he had said to de la Mare, 'I don't know the papers a bit'.

    On 24 May, surer now in his own mind, Lawrence went to Munich to rejoin Frieda. The next day they went south to Beuerberg for their 'week's honeymoon' (i. 414), before setting up house for the first time together in the flat of Alfred Weber, the lover of Frieda's married sister Else Jaffe, at Icking in the Isartal.²² Fretted by having to bear with the effects on Frieda of Ernest Weekley's appeals for her to return 'and give her life to her husband and her children' (i. 420–1) and disgusted by William Heinemann's rejection of the now revised 'Paul Morel' as unfit for the circulating libraries (i. 421), Lawrence's aversion to England increased: 'I loathe the idea of England, and its enervation and misty miserable modernness' (i. 427).

    Catholic Bavaria, on the other hand, was proving an alternative source of interest, and by 13 July Frieda and he had conceived the idea of walking south through the Tyrol via Innsbruck to Verona; they would live in Italy where Lawrence's meagre income as a writer stood a better chance of sufficing for their needs. They set out south on 5 August, but now intending to go by way of Mayrhofen east of Innsbruck²³ and with Lawrence nurturing the firm intention, following a recent suggestion from de la Mare, of writing further travel sketches to make enough for a volume.²⁴ From the first, Lawrence's letters from Bavaria had shown a keen interest in peasant customs (e.g. a miracle play and a Corpus Christi procession: i. 411, 416). As early as 10 June he had remarked on the surprising number of shrines in Bavaria (i. 417), and the wayside crucifixes must have seemed a strange expression of piety to an untravelled Englishman brought up as a Congregationalist. Stopping at a tiny chapel at Röhrlmoos on the evening of 6 August (after having struck out east from the Isartal and become lost en route to Glashütte), Lawrence had his attention riveted by its ex-voto paintings offered up by local farmers in thanks for divine intercession in various calamities. This became the subject of 'A Chapel Among the Mountains', and his and Frieda's spending the night in a nearby hay-hut served for the companion piece.

    Lawrence indicates in the 'Chapel' sketch that it was written at Glashütte – where he and Frieda walked the next morning and rested till leaving by bus in the afternoon. He would scarcely have had time to write both sketches at Glashütte, so they were probably finished (or even entirely written) en route to or at Mayrhofen – where they stayed 9–26 August, also making excursions into nearby valleys. Edward Garnett's son, David, who joined Lawrence and Frieda at Mayrhofen about 18 August (i. 440, 442) and was to give the two sketches their first publication in 1930 (discussed below), recalled in the preface watching Lawrence writing 'on the squared foreign paper'.²⁵ The autograph manuscript of 'A Chapel Among the Mountains' survives (Roberts E66a, at YU), but that of 'A Hay-Hut Among the Mountains' does not. E66a, however, is on nearly transparent writing-pad paper, 25.4 x 20 cm: Lawrence had used very similar but not identical paper for letters in March and April 1912 when he was still in England.²⁶ He may have purchased more and have had some left in August. In a letter of 19 August Lawrence recounted the events in the two sketches but without echoing their wording; and in a letter of 2 September he commented: 'I've done [i.e. written] absolutely nothing lately' (i. 446). Thus the sketches were probably written before 18 August: it seems likely they were completed before David Garnett's arrival (although he may have seen Lawrence working on the 'Hay-Hut' sketch), and unlikely that Lawrence did much sustained writing while the party was travelling (26 August–4 September). In any case, these two sketches with a third (i. 447) were sent to de la Mare for the Westminster Gazette on 5 September 1912 from Riva on Lake Garda, the day after Lawrence and Frieda arrived there, having walked from Mayrhofen over the Pfitscher Joch to Sterzing and then, after a few days, gone by train to Riva.²⁷ The third article was probably 'Christs in the Tirol' whose subject matter comes from the same trip. An autograph manuscript with this title (Roberts E81.5a, at UT) is on paper which Lawrence used in letters from 30 August to 16 September.²⁸ As the sketch refers to 'these painted shrines on the Lake Garda' (229:8), it must have been written on 4 or 5 September,²⁹ but this first version was not published till 1933.

    However, Lawrence completely rewrote this sketch; it became the quite distinct version, 'Christs in the Tyrol' (with the anglicised spelling of Tyrol), printed in the Westminster Gazette and Saturday Westminster on 22 March 1913 (again, identically) and reprinted in Phoenix. This state is subsequent to MS (E81.5a): the Westminster printings follow revised readings in MS, not its original deleted readings. Lawrence probably used it as a rough draft from which to copy and adapt, removing a whimsical digression about Austria, further dramatising his encounter with the Bavarian crucifix and adding new material. He may have rewritten immediately or, possibly, after a request for changes from Spender: the latter case would help explain the six-month delay between composition of the first version and publication. (This second manuscript is unlocated.) There is no mention in the extant correspondence of proofs of 'Christs in the Tyrol', but it is likely that the newspaper followed its normal practice and sent them. The alternative explanation – that E81.5a served as setting-copy and that the Westminster Gazette version is the result of extensive alterations in proof– is very unlikely.³⁰ Lawrence was not yet an established author who could expect this luxury. The superseded first version is printed here in Appendix I; its publishing history is described below.

    These articles set in the Tyrol mark an extension of tonal range in Lawrence's travel sketches: in the first two, the affectionate self-parodying of the travellers' plight (Frieda

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